Festivals: M:ST 9 Biennial | September 7 - October 7, 2018.
Questions without answers must be asked very slowly*
Quotidian violence can be classified by its invisibility. The quotidian, the daily, is such because it is perceived so often that one stops perceiving it. Thus, the particular kind of unspectacular suffering that is the felt experience of larger, common systems of power is, by very definition, invisible. Often to both those who benefit and those who are oppressed by it. These systems of common coercion become visible at moments of rupture.
Access to the physical interior of the body has been professionalized or pathologized (a doctor can cut you open but if you do so, you’re sick).
“Can anyone like blood the way one likes the mountains or the sea?”
— ‘Must We Burn Sade?’ trans Annette Michelson in The Marquis de Sade, NY: Grove Press, 1954
*From Anne Michael’s Fugitive Pieces
Adriana Disman is a performance art maker, thinker, and organizer based in Toronto and Montreal. Her solo performance works have been presented in performance art spaces and contexts in Canada, the US, Europe, and India. She also writes theory related to performance’s encounter with the political and has been published in both academic and arts publications. Disman is inhabits the Research Centre for Performance Art. She previously curated the LINK & PIN performance art series, directed Morni Hill’s Performance Biennale 2016 in northern India, was an organizer for The School of Making Thinking (NY), and the artistic co-ordinator of RATS9 Gallery (MTL).
She holds an M.A. in Theatre and Performance Studies from York University and is a graduate of the Neighborhood Playhouse School of the Theatre (NYC). She is currently writing her PhD on self-wounding performance at Queen Mary University of London.
Disman gives workshops and guest lectures regularly and has taught at McGill, U of Toronto, Concordia, and Abrons Art Centre, among others.